"Brightwork Quartet" program

“I Will Learn to Love a Person” Brightwork Quartet (part of the 23rd Annual New Music Series)

CAL STATE FULLERTON

SYLVIA A. ALVA

President, California State University, Fullerton

AMIR H. DABIRIAN

Provost and VP for Academic Affairs

ARNOLD HOLLAND, EDD Dean, College of the Arts

CSUF SCHOOL OF MUSIC

DR. RANDALL GOLDBERG Director, School of Music

KIMO FURUMOTO Assistant Director, School of Music

BONGSHIN KO Assistant Director, School of Music

SCHOOL OF MUSIC FULL-TIME FACULTY AND STAFF

Faculty

Conducting

Kimo Furumoto – instrumental

Dr. Robert Istad – choral

Dr. Dustin Barr – instrumental

Jazz and Commercial Music

Bill Cunliffe* – jazz piano; arranging; Fullerton Jazz Orchestra, Fullerton Big Band and combo director

Rodolfo Zuñiga – jazz studies, jazz percussion, and music techology; Fullerton Chamber Jazz Ensemble director

Piano, Organ, Piano Pedagogy

Ning An – piano

Bill Cunliffe – jazz piano

Alison Edwards* – piano, piano pedagogy, class piano

Myong-Joo Lee – piano

Dr. Robert Watson – piano

Music Education, Teacher Training, and Teaching Credential

Dr. Christopher Peterson – choral

Dr. Gregory X. Whitmore* – instrumental

Music in General Education

Dr. John Koegel*

Dr. Katherine Reed

Music History and LIterature

Dr. Vivianne Asturizaga – musicology

Dr. John Koegel* – musicology

Dr. Katherine Powers – musicology

Dr. Katherine Reed – musicology

Strings

Kimo Furumoto – Director of Orchestra Studies and University Symphony Orchestra conductor

Bongshin Ko – cello

Dr. Ernest Salem* – violin

Theory and Composition

Dr. Pamela Madsen – composition, theory

Dr. Ken Walicki* – composition, theory

Vocal, Choral, and Opera

Dr. Robert Istad – Director of Choral Studies and University Singers conductor

Dr. Kerry Jennings* – Director of Opera

Dr. Christopher Peterson – CSUF Concert Choir and Singing Titans conductor

Dr. Joni Y. Prado voice, academic voice courses

Woodwinds, Brass, and Percussion

Dr. Dustin Barr – Director of Wind Band Studies, University Wind Symphony, University Band

Jean Ferrandis – flute

Sycil Mathai* – trumpet

Dr. Gregory X. Whitmore

University Symphonic Winds conductor

Staff

Michael August – Production Manager

Eric Dries – Music Librarian

William Lemley – Audio Technician

Jeff Lewis – Audio Engineer

Chris Searight – Music Instrumental Services

Paul Shirts – Administrative Assistant

Elizabeth Williams – Business Manager

* denotes Area Coordinator

Welcome to the Spring 2024 Performing Arts Season at Cal State Fullerton’s College of the Arts. Whether you are a first-time or long-time patron, a friend, or parent to one of our exceptional students, thank you for joining us. Your support makes all the difference to their success.

I am pleased to present another semester of programming powered by the incredible gifts of our Art, Dance, Music, and Theatre students. This spring, the School of Music starts the season with a trio of concerts February 16–18 by artists-in-residence Talich Quartet; faculty artist Damon Zick and his Quarteto Nuevo featuring fellow faculty artist Bill Cunliffe; and University Symphony Orchestra. In May, University Symphony Orchestra and Symphonic Chorus will close the concert season with a performance of Mozart’s emotionally charged “Requiem.” Begovich Gallery presents the Begovich Visual Arts Lecture Series with visiting artists’ talks throughout the semester, including multidisciplinary artist Hings Lim on February 22, whose work will also be exhibited at Grand Central Art Center. The Department of Theatre and Dance begins their season in March with “Marisol,” a darkly comedic fantasy where the title character must find hope in a post-apocalyptic Brooklyn where angels are taking up arms and coffee is extinct. Hilarious, multiple Tony award-winning modern musical send-up “Urinetown” closes the theatre season just as CSUF’s dancers and choreographers take to the stage for “Spring Dance Theatre.”

When our students demonstrate their talents on stage and in the studio, their creative energy is undeniable, but the sacrifice and struggle it took to get there is often less perceptible. We can’t see the hours spent creating, the days of rehearsals, and the years of practice. For many students, the sparks of innovation and artistry that drove them to pursue the arts are often diminished by the high cost of an education. The Dean’s Fund for Excellence provides support for students in need through scholarships, artist residencies, and other financial assistance, ensuring them the opportunity to thrive in the arts. If you believe in their sparks of brilliance, please consider a donation of any amount to the Dean’s Fund for Excellence.

Thank you again for joining us this season and for championing the arts in higher education. I hope to see you at one of the college’s many performances and events this spring.

Sincerely,

Arnold Holland, EdD Dean, College of the Arts

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Murmurations

Tom Flaherty

AJ McCaffery

Resilence: The Echoes of Lost Souls ......................................................

Jessica P. Lewis (CSUF Student Composition Award)

Lost Borders ............................................................................................

Pamela Madsen (from Why Women Went West (2024))

PROGRAM NOTES

Wagon-Wheeling

TOM FLAHERTY

Wagon-Wheeling for piano and percussion premiered 11/3/12 at Bridges Hall of Music with Aron Kallay, piano and Yuri Inoo, percussion.

The “wagon wheel effect” is an optical illusion often seen in films, when a wagon wheel seems to be spinning impossibly slow, or even moving backwards. The relationship between the speed of the wheel and the frame rate of the film is responsible for the effect. Wagon-Wheeling plays with the relationship between two or more rhythmic passages, which in some combinations can create similarly paradoxical effects on our experience of tempo. At times the listener might have the impression of speeding up and slowing down at the same time. Not incidentally, the piece sometimes takes on the loping gait of galloping horses, and briefly breaks into an exuberant country waltz.

Wagon-Wheeling was written for Aron Kallay, whose musical artistry and indefatigable energy are inspiration for all.

-Tom Flaherty

Murmurations

AJ MCCAFFERY

Commissioned by Julia Heinen. First performance: August 29, 2018 in Györ, Hungary at the 2018 European Clarinet Festival with pianist Luca Ferrini

A “murmuration” is the phenomenon that results when an enormous flock of birds (usually starlings) form a massive, constantly shifting cloud that seems like one solid but ever-changing shape in the sky. The gestures in this piece attempt to evoke this almost-unbelievable avian group aerodynamic, fluttering up and down and then settling into longer sustained and pulsing tones that shift microtonally above slowly chiming chords in the piano.

Resilience: the Echoes of Lost Souls

JESSICA P. LEWIS

Humans are at once capable of such despicable acts and also of compassion and love. It would be an understatement to say that I am disgusted by what’s happening in Gaza, seeing massacres of innocent people miles across the world and knowing there is little I can do to help. So I have decided to speak on it the best way I know how: through music.

In the ashes of loss, new seeds sow, And a garden of resilience begins to grow.

In quiet dusk, where shadows weep, A malady of memories stir a heartache so deep.

Homesick whispers through the evening air, a lament of the place that was once so fair.

Gone are the warm smiles and familial glow, Instead replaced with tears where laughter used to grow.

Photographs, like ghosts, lay cracked on rubbled wall, a requiem for the echoes of voices, made small.

-Jessica P. Lewis

Lost Borders (from Why Women Went West (2024))

PAMELA MADSEN

Why Women Went West is a multi-media chamber opera in which two voices—I, Mary (soprano) and Mary by Herself, (recorded voice of soprano/spoken voice/electronics) tells the unfolding narrative of a sole woman protagonist and her journey west. With empathy, ritual, and passion the work traces Mary’s experiences from her youth in a Midwest small town in late 19th century to her

PROGRAM NOTES

pioneer days in California, and finally to her wild west days in New Mexico where she eventually confronts death and overcomes the challenges that have plagued her throughout her life.

Why Women Went West explores controversies over human rights, water wars, early 20th-century feminist artist communities through the life of Mary Hunter Austin. Writer, feminist, conservationist, and defender of Native American and Spanish-American rights, Austin’s quest, trauma, and journey uncovered dark mysticism in the American Southwest. Resonating with concerns over marginalization of indigenous cultures, desecration of women, nature, and women’s escape from conventions through their artistic agency, this work reveals ongoing trauma of woman’s quest for autonomy.

A complex, problematic story of coming to terms with one’s self as a woman in society, Why Women Went West chronicles Mary Austin’s escape from persecution to transformation of white woman’s privilege and passion for preservation of nature, history, and indigenous culture.

Commissioned and funded in part by National Endowment for the Arts and Opera America Discovery Award for concert premiere Brightwork New Music, Stacey Fraser, soprano; HEX Ensemble (SSATTB) and by Operation Opera Festival with Four Corners Ensemble, Sacramento State University in 2023.

“Lost Borders” (2024) is a new work from the final Act of my opera Why Women Went West, which includes the setting of “Silent Friend of Many Distances” (Rilke) originally for baritone voice, choir and ensemble. Based upon Austin’s texts from her book Lost Borders, this work describes her life in California desert -and beyond in New Mexico- the harsh, arid lands form a stark backdrop to the challenges of people who lead life there. The mystical forces which plagued her, and lured her to go West in Act I—reappear with the bass clarinet solo from Owl’s Breath, embedded within the recap

of powerful opening ritual materials of the piano and percussion. These lands of lost borders in the deserts of the southwest, still resonate today where life and death, quest for self-reliance, determination for survival in the harshest of conditions is common and yet transcendent.

-Pamela Madsen

“She called upon the Voice, and the Voice answered—Nothing. She was told to go away. And suddenly there was an answer, a terrifying answer, pushed off, deffered, delayed, an answer impossible to be repeated, an answer still impending. Which I might not live to see confirmed, but hands, suspended over this Country--Mary went away.”

(Mary Hunter Austin)

Let’s have done with stranger faces, Let’s be quit of staring eyes. Let’s go back across the Mojave. Let’s go back across, where the hills of Inyo rise. Let’s go back across the Mojave.

(Muerto, Muerto). There’s a word we’ve lost we’ll never hear again. Earth, as their own. The earth glady receives the embrace of the sun. The Earth received. And we shall soon see the results of their Love! In the mindless clang of engines where they bray, the hearts of men.

All seeds awake, All animal life. (Save me, O Lord, Save me, O Lord).

(from Lost Borders by Mary Hunter Austin)

Silent friend of many distances, Feel, how your breath enlarges.

All vertical space

Let your presence ring, you ring out like a bell

Ring into the night

What feeds upon your face

Grows mighty from the nourishment thus offered.

What feeds upon your face grows mightly from the nourishment offered.

(Move through transformation out and in)

That you have suffered. What is the deepest loss that you have suffered, that you have suffered?

If drinking is bitter, change yourself to wine.

In this immeasureable darkness

Be the power that rounds your senses in their magic ring.

The sense of their mysterious encounter

Whisper to the silent earth I’m . . .

And if the earth no longer knows your name, Whisper to the silent earth I’m flowing.

To the flashing water say: I am.

(Rainer Marie Rilke)

Xarja

KAREEM ROUSTOM

Xarja, pronounced Shar-ja, is a Spanish or Catalan spelling of the Arabic word Kharja (خرجة) which means ‘exit’ or ‘final’, but is also the last stanzas of genre of Arabic poetry (called muwashshah) that originated in Arab Spain around the tenth century. These ending stanzas were often in Classical Arabic but some mixed Arabic with Ibero-Romance languages (Spanish, Catalan etc.). On a personal level, this work marks a creative ‘exit’ from a musical language which has been inspired by the music of the muwashshah genre. The work begins in a traditional sounding mode but quickly morphs into a more chromatic language with a more irregular musical pulse. Like the speaker of the poet, the sense of loss is one filled with sadness and desperation. Like the grief stricken lover, ‘death is my state’ can be applied to the musical language I’ve been using for sometime. However, out of ‘death’ comes ‘rebirth’ and the opportunity to begin anew. The text is taken from from the “Waterfire” muwashshah by Al’Ama al-Tuttli (d. 1126 Tudela, Spain) and other poets of that era.

Amän is a word that is traditionally used in extended improvisation in the music of the Near East. It connotes the asking for refuge (i.e. “gimme shelter” in Blues).

¿Ké fareyo, ya ummi?

Gar ké fareyo, ya mama?

O ké serad de mibe

Meu ’l habıb enfermo de meu amar

Que no d’estar?

Non ves amibe que se ha de no llegar?

Alsa’amu mio hali, / porqe hali qad bare. ¿Ké farey, ya ummi? / ¡Faneq [me] bad lebare!

Amän

What shall I do, oh mother?

Tell me what shall I do, oh mother?

What will become of me. My lover is lovesick, how could it be otherwise.

Don’t you see he’ll never come back to me again?

Death is my state, because my state (is) desperate. What shall I do, O my mother?

The spoils I will leave.

-Kareem Roustom

A Sonatina BILL ALVES

Gertrude Stein (1874-1946) was a pioneering modernist in American literature who endeavored to create in literature the same objectification and immediacy of thought that her friend Picasso had created in his Cubist paintings. At times she went even further, making language into a fascinating abstraction, which has long appealed to me as a composer, as has her musical perspective of language, her use of repetition, and the seeming simplicity of her supposed "difficult" works.

This text comes from a very long poem, "A Sonatina Followed by Another”, which she wrote in Vence, France in 1921. According to her friend and collaborator

Virgil Thomson, the title refers to her habit of improvising "sonatinas" on the white keys of the piano, though she had no musical training whatever. Although the poem is filled with charming though fleeting images of her stay in southern France, I have extracted lullaby-like bits of the text that often seem to refer to her life partner, Alice Toklas.

-Bill Alves

I Will Learn to Love a Person CHRISTOPHER

CERRONE

“I’ve been immersed in Christopher Cerrone’s music for several years—performing, discussing, observing the process, and occasionally offering advice— and I’ve come to think of it all as ‘vocal music’, even in its purely instrumental moments. In his Invisible Overture, one of the earliest pieces I heard, an arching woodwind melody emerges from violent string gestures, a premonition of the elegiac opera to follow (Invisible Cities). It’s a recurring setup in his music: relentless development of a single musical point, until it is almost forced to become a song. Chris’s I Will Learn to Love a Person is a piece about relationships—personal, romantic, harmonic, and timbral. Like all of his music, it obsessively controls its limited musical materials in service of big emotional catharses.

There are two contrasting “types” of song in I Will Learn to Love a Person. The first, third, and fifth songs emerge from extemporaneous-sounding clouds of harmonies and words: call it text message recitative. The second and fourth songs are bright and motoric, with a candid

humor that counteracts the extreme vulnerability of the slow movements. The five songs are masterfully sequenced in a harmonic palindrome, with short interludes of repeated E’s acting as pivot points. Harmonic changes are few, and withheld until they feel revelatory.

The relationship of text and music is no less painstaking. It’s a rare case in which a musical setting is more than the sum of its parts: Tao Lin’s poems, which can be difficult to pin down on the page (are they sincere, or a bit glib?) and the music, so diaphanous at times it seems in danger of evaporating—powerfully concentrate each other in combination. Both elements sound simpler than they actually are. The pianist offhandedly touches some notes, outlining a harmony, over which the singer declaims what could be a series of self-pitying text messages:

seen from a great enough distance i cannot be seen i feel this as an extremely distinct sensation of feeling like shit

I Will Learn to Love a Person requires a wide-ranging and nuanced dramatic performance in order to work correctly; perhaps more than a song cycle, it should be thought of as a self-analytical monodrama. Its protagonist is a precocious observer of the world and other people, but also immature and wildly heartbroken; the process of the piece is the discovery that there is, of course, no set of rules that govern human relationships.”

-Timothy Andres

ABOUT THE COMPOSERS

Tom Flaherty

Tom Flaherty is a composer and cellist who works with music for humans and electronics. He earned degrees at Brandeis University, S.U.N.Y. Stony Brook, and the University of Southern California, where he studied with Martin Boykan, Bülent Arel, and Frederick Lesemann and cello with Timothy Eddy and Bernard Greenhouse.

Recent commissions include Looking for Answers for the Mojave Trio, which includes Eclipse violinist Sara Parkins and cellist Maggie Parkins, and Mixed Messages for pianist Vicki Ray and Eclipse violinist Sarah Thornblade.

A recent recording of his Airdancing for piano, toy piano, and electronics was nominated for a Grammy in 2015. His composition has been supported by the National Endowment for the Arts, the National Endowment for the Humanities, American Music Center, the Pasadena Arts Council, the Massachusetts Council for the Arts and Humanities, the Delius Society, the University of Southern California, “Meet the Composer,” and Yaddo.

His music has been performed throughout Europe and North America by such new music ensembles as Dinosaur Annex in Boston, Speculum Musicae and Odyssey Chamber Players in New York, Earplay and Volti in San Francisco, Concorde in Dublin (Ireland), Gallery Players in Toronto (Canada), Mojave Trio, XTET and Brightwork newmusic in Los Angeles; and by such performers as soprano Lucy Shelton; cellists Maggie Parkins and Roger Lebow; violinists Sarah Thornblade and Rachel Huang; organist William Peterson, and pianists Genevieve Feiwen Lee, Nadia Shpachenko, Susan Svr?ek, Vicki Ray, Aron Kallay, and Karl and Margaret Kohn.

Published by G. Schirmer, Inc. and American Composers Editions, his compositions have been recorded on the Albany, Bridge, Capstone, Klavier, Reference, and SEAMUS labels. Although he does have a preference for humans, he happily directs the Pomona College Electronic Studio, where students and faculty create a wide variety of music,

and which is the motivation for Pomona’s annual Ussachevsky Festival of Electronic Music.

A.J. McCaffrey

A.J. McCaffrey is a songwriter and composer of instrumental, vocal and electronic music. With a background in theater, fine arts and literature, and an upbringing that has fostered a love for a wide variety of musical styles, A.J. writes music that strives to tell a story. His works are theatrical in nature, employing harmonically rich and lyrically striking sound worlds to create moving, dramatic narratives.

Hailed by the American Academy of Arts and Letters as a composer of music “imbued with an extraordinary wit and intelligence”, A.J. received the Academy’s 2014 Goddard Lieberson Fellowship. He has been commissioned to write music for the Los Angeles Philharmonic, the Tanglewood Music Center and the Royal Scottish National Orchestra. His music has been performed by the American Composers Orchestra, the New Fromm Players, the Radius Ensemble, the Atlantic Chamber Ensemble and by members of the Chiara Quartet, the Boston Modern Orchestra Project, Alarm Will Sound, Boston’s Firebird Ensemble and the Scottish Chamber Orchestra. A fellow at the Tanglewood Music Center and Aspen Music Festival and School, he has been a featured composer on BMOP’s The Next Next series, Tanglewood’s Festival of Contemporary Music and the New Gallery Concert Series. His orchestral work Thank You for Waiting was chosen for the American Composers Orchestra Underwood New Music Readings, and he was subsequently awarded the 2013 Underwood Emerging Composers Commission. Recent collaborations include works for violist Jonah Sirota, HOCKET piano duo, clarinetist Julia Heinen, Project Fusion saxophone quartet, and the Light Matter Trio.

A.J. holds degrees in music from Rice University, The Royal Scottish Academy of Music and Drama, and the University

ABOUT THE COMPOSERS

of Southern California. He has studied composition with Richard Lavenda, James MacMillan, Donald Crockett and Stephen Hartke.

A passionate educator, A.J. was one of the founding instructors for the Los Angeles Philharmonic’s groundbreaking Composer Fellowship Program. He is currently an Assistant Professor of Music at California State University Northridge. A native of the Boston area, he lives in Los Angeles with his wife and their two children.

Jessica P. Lewis

Jessica P. Lewis, composer and cellist, has been a performer since age 10. Her formal training commenced at the University of La Verne, where she studied under esteemed cellists like Rick Mooney and Matthew Keating. Under their mentorship, Jessica honed her skills, laying the foundation for her future musical endeavors.

In 2020, Jessica achieved a significant milestone by earning her Bachelor of Arts in Music from the University of La Verne. Her dedication was recognized in 2018 when she was awarded the Root Endowed Scholarship. While pursuing her degree, Jessica served as a music transcription, working with the La Verne Symphony Orchestra for two years. Expanding her musical horizons in 2017, Jessica began participating in chamber music performances. Embracing the complexities of small ensemble playing, she added yet another layer to her musical expertise by beginning composition studies in 2019 with Dr. Reed Gratz.

Driven by her passion for composition, Jessica continued her education, enrolling in the MM program in Theory/Composition at California State University, Fullerton. Under the mentorship of Dr. Pamela Madsen, a distinguished composer and educator, Jessica honed her compositional skills and expanded her creative horizons. She also took on the role of New Music Assistant for the CSUF New Music Ensemble, immersing herself in the contemporary music scene.

In recognition of her talent and creativity, Jessica earned the Jim Kollias Film Composition award for her piece, “One Heck of a Drag.” This accolade, presented in front of a welcoming audience at Beckman High School in Irvine, CA, underscored her ability to craft evocative compositions. As Jessica continues to evolve as a composer and cellist, she stands to inspire audiences with her talent and artistic vision. With this newfound passion, Jessica hopes to pursue a DMA in Music Composition with the goal of becoming a film and media composer.

Pamela Madsen

Pamela Madsen is a composer, sound artist, performer, and curator of new music. From her massive landscape inspired projects and intimate chamber music creations to her multi-media collaborations, and organization of new music events she has created a body of work with a profound breadth of vision. With a Ph.D. in Composition from UCSD, doctoral studies in Music Theory at Yale University, post-doctoral studies in Music Technology at IRCAM in Paris, and Deep Listening with Pauline Oliveros, her work encompasses a vast sphere of interest. Her multi-media operas/music dramas and site-specific environmental works have been commissioned and premiered by such new music performers and ensembles as: soundSCAPE, Zeitgeist, Ethel, Tony Arnold, Aiyun Huang, Jane Rigler, Trio Solisti, Verdehr Trio, ICE flutist Claire Chase, New York New Music Ensemble, California Ear Unit, JACK and Arditti String Quartet, multi-media collaborations with IMAX filmmaker Greg MacGillivray, TED Fellow photographer Camille Seaman, video artist Quintan Ana Wikswo and visual artist Judy Chicago. Selected as an Alpert Award Panelist for 2010, she is a frequent guest lecturer, performer and invited scholar at festivals and universities world-wide. Currently, she is curator of the Annual New Music Festival, World Electro-Acoustic Listening Room Project, and Film as Collaborative

ABOUT THE COMPOSERS

Art Series at Cal State Fullerton where she is Professor of Music Composition.

Kareem Roustom

Syrian-American Kareem

Roustom is a composer whose genre crossing collaborations include music commissioned by conductor Daniel Barenboim and the West-Eastern Divan Orchestra, the Kronos Quartet, arrangements for pop icons Shakira and Tina Turner, as well as a recent collaboration with acclaimed British choreographer Shobana Jeyasingh. Roustom has been composer-in-residence at the Grant Park Music Festival in Chicago, the Grand Teton Music Festival in Wyoming, and with the Württembergische Philharmonie Reutlingen in Germany and the Mannheim Philharmonic. A musically bi-lingual composer, Roustom is rooted in the music of the Arab near-east but his music often expresses beyond the confines of tradition. The themes of a number of his works often touch issues of those affected by war and instability. Roustom’s music has been performed by ensembles that include the BBC Symphony Orchestra, Rotterdam Philharmonic, the Estonian Philharmonic Chamber Choir, Minnesota Orchestra, Boston Symphony Orchestra, San Francisco Symphony Orchestra, New York Philharmonic, Cincinnati Symphony Orchestra, Pittsburgh Symphony, Boulez Ensemble, Oregon Symphony, Orchestre Symphonique de Mulhouse, The Crossing choir, Lorelei Ensemble, A Far Cry, and at renowned festivals and halls such as the BBC Proms, the Salzburg Festival, the Lucerne Festival, Carnegie Hall, the Verbier Festival, the Pierre Boulez Saal in Berlin, the Teatro Colon in Buenos Aires, and others. Roustom has been composer-in-residence with the Grand Teton Music Festival, the Grant Park Music Festival, the Württembergische Philharmonie Reutlingen, and the Mannheim Philharmonic.

Roustom has received commissions from the Malmö Symphony Orchestra (Sweden), the Dallas Symphony Orchestra, the Grand Teton Music Festival (2018 &

2023 seasons), the Grant Park Music Festival, the Daniel Barenboim Stiftung (2013, 2015, & 2017), the Pierre Boulez Saal, the Royal Philharmonic Society & Sadler’s Wells Theatre (U.K.), A Far Cry & Lorelei Ensemble and others. Roustom’s music has also been recorded by the Deutsches Symphonie-Orchester (Berlin), and the Philharmonia Orchestra (London).

The Chicago Tribune wrote that Roustom is “a gifted and accomplished artist, one of the most prominent active Arab-American composers,” BBC Radio3 described Roustom’s music as “among the most distinctive to have emerged from the Middle East”, and The New York Times described it as “propulsive, colorful and immediately appealing.” The Guardian (London) wrote that Roustom’s music is “arrestingly quirky and postmodern… music with lots of personality.” Roustom holds the position of Professor of the Practice at Tufts University’s Department of Music in Boston. Roustom’s awards include an Emmy nomination and an Aaron Copland House Residency Award.

Bill Alves

Bill Alves is a composer, writer, and video artist based in Southern California and engaged at the intersections of musical cultures and technology. He has written extensively for conventional acoustic instruments, non-Western instruments (especially Indonesian gamelan) and electronic media, often integrated with abstract animation. CDs of his audio works include The Terrain of Possibilities and Imbal-Imbalan, Mystic Canyon, and Guitars and Gamelan. His work with computer animation pioneer John Whitney inspired abstract computer animations with music, now released by the Kinetica Video Library as Celestial Dance. He is the co-author with Brett Campbell of the new biography Lou Harrison: American Musical Maverick. He is also author of the book Music of the Peoples of the World, now in its third edition from Cengage/Schirmer. Other writings have appeared in Organised

ABOUT THE COMPOSERS

Sound, Perspectives of New Music, Computer Music Journal, SEAMUS Journal, 1/1, and elsewhere. In 199394 he was a Fulbright Senior Scholar Fellow in Indonesia, where he studied the gamelan orchestra music of Java and Bali. He currently directs the HMC American Gamelan, an ensemble of specially tuned Javanese instruments dedicated to the performance of new, non-traditional music. He often explores new musical tunings in his works and is one of the organizers of MicroFest, the annual Southern California festival of new music in alternate tunings. He teaches at Harvey Mudd College of the Claremont Colleges in Southern California.

Christopher Cerrone

Christopher Cerrone is internationally acclaimed for compositions characterized by a subtle handling of timbre and resonance, a deep literary fluency, and a flair for multimedia collaborations.

Balancing lushness and austerity, immersive textures and telling details, dramatic impact and interiority, Cerrone’s music is utterly compelling and uniquely his own.

In the 2018–19 season, Cerrone wrote The Insects Became Magnetic, an orchestral work with electronics for the Los Angeles Philharmonic, led by Roderick Cox. Other recent commissions include Why Was I Born Between Mirrors?, a new sextet co-commissioned by Latitude 49, Pittsburgh New Music Ensemble, and Sentieri selvaggi; and a new concerto for Third Coast Percussion, Meander Spiral, Explode, co-commissioned by the Civic Orchestra of the Chicago Symphony and the Britt Festival. Cerrone orchestrated his opera All Wounds Bleed for Chicago Fringe Opera. He recently curated a series, “Reiterations,” for the Metropolis Ensemble; held residencies at Chatterbird

and Baylor University; and was the 2018 Conducting/Composition Fellow at the Britt Festival. Excerpts from his new opera, In a Grove (libretto by Stephanie Fleischmann), were heard at the Morgan Library in New York in March 2019. He is currently hard at work on a new piano concerto commissioned by Shai Wosner that will be heard with the East Coast Chamber Orchestra, Phoenix, and Albany Symphonies throughout 2019 and 2020.

Recent highlights include Breaks and Breaks, an acclaimed violin concerto for Jennifer Koh and the Detroit Symphony, led by Peter Oundjian; a Miller Theatre Composer Portrait performed by Third Coast Percussion; Will There Be Singing, premiered by the Los Angeles Chamber Orchestra in Jeffrey Kahane’s final concert as LACO Music Director; Can’t and Won’t, commissioned for the Calder Quartet by the LA Phil, and new works for artists including Tim Munro, Eighth Blackbird, Vicky Chow, and Rachel Lee Priday.

Cerrone’s opera, Invisible Cities, a 2014 Pulitzer Prize finalist, was praised by the Los Angeles Times as “A delicate and beautiful opera…[which] could be, and should be, done anywhere.” Invisible Cities received its fully-staged world premiere in a wildly popular production by The Industry, directed by Yuval Sharon, in Los Angeles’ Union Station. Both the film and opera are available as CDs, DVDs, and digital downloads. In July 2019, New Amsterdam Records released his sophomore effort, The Pieces that Fall to Earth, a collaboration with the LA-based chamber orchestra, Wild Up.

Cerrone holds degrees from the Yale School of Music and the Manhattan School of Music. He is published by Schott NY and Project Schott New York and will join the composition faculty of the Peabody Conservatory for 2019–2020.

Brightwork newmusic is a classical new music group based in Los Angeles, California. A flexible and fearless group of world-class musicians, Brightwork consists of piano, violin, soprano, cello, flute, clarinet, and percussion (an instrumentation which is often called “Pierrot + percussion,” and which is to modern chamber music what the string quartet was to earlier centuries), and champions the best of the music that’s being written today, while continuing to play the classics of “new” music from the last hundred years.

We play the music we love, whether this is one of our favorite masterworks of the 20th century, or the latest dazzling score from a composer whose music we just discovered. What the listener can expect at a Brightwork concert–at the very least–is exciting, emotionally engaging music presented in state-of-the-art performances. Brightwork seeks to draw the audience into the creative process.

Brian Walsh, clarinet Nick Terry, percussion

Stacey Fraser, soprano Aron Kallay, piano

ABOUT THE ARTISTS

Stacey Fraser, soprano

Described as having a “wonderfully controlled soprano voice” by Alex Ross of the New York Times and “an astonishing presence” by Jennifer de Poyen of the San Diego Union Tribune, Canadian soprano Stacey Fraser’s eclectic musical interests have led her to sing on international operatic, concert and theatre stages across the United States, Canada, Asia and Europe. She has appeared as a soloist for the San Diego Opera, the Tony Award winning La Jolla Playhouse, the Kennedy Center in Washington D.C., Taipei National Concert Hall in Taiwan, ISCM Taiwan, the Musicasa Concert Hall in Tokyo, Japan, the Thailand Composition Festival, the Americké Jaro Festival in Prednasek, Czech Republic, Red Square Gallery Hong Kong, the Festival Eduardo Mata in Oaxaca, Mexico, Vancouver Symphony, Kazan Co-Op Theatre in Halifax, Nova Scotia, South Dakota Symphony, La Jolla Symphony, San Bernardino Symphony, Banff Centre, Tanglewood Music Center, Asia Society NYC, Alice Tully Hall at Lincoln Center and the world renowned La MaMa Experimental Theatre in New York City.

Fraser has received critical acclaim from international papers including the New York Times, the Los Angeles Times, the San Diego Union Tribune, San Diego Theatre Scene, Sequenza 21, I care if you listen, The Whole Note and the Oltner Tagblatt for her performances in both standard and contemporary repertoire. Mark Swed of the Los Angeles Times described her rendition of Berio’s Sequenza III as “a seamless aria, sure of musical direction while missing none of the humor or the frightening shocks of horror.” Recordings include a chamber music album of works by Asian and American composers entitled Lotusblume for the Viennese label, ein Klang records, Therigatha Inside Aura and Sprial XII by Chinary Ung for Bridge Records, Seven Epitaphs for soprano and clarinet by Barney Childs for Advance Recordings,

Still Life After Death and Therigatha

Inside Aura by Chinary Ung for Voices of the Pearl Vol. 3, Snowflakes, Blossoms : Friends of the Way by Marjorie Merryman for Voices of the Pearl Vol. 2 and the role of Lisinga on the premiere recording of Manuel del Pópulo Vicente Garcia’s opera Le Cinesi for Harmonicorde. A new film by critically acclaimed filmmaker Sandra Powers featuring Fraser singing composer Chinary Ung’s Still Life After Death premiered at the prestigious Sharjah Art Foundation Festival in the United Arab Emirates in 2019 and is now streaming on Amazon Prime Video.

Recent notable performances include the title role in Peter Maxwell Davies’ Miss Donnithorne’s Maggot with Brightwork newmusic, a staged adaptation of Mathew Rosenblum’s Falling with Dancer/ Choreographer Faith Jensen-Ismay and Brightwork newmusic for the Beyond 2020 Microtonal Festival in Pittsburgh, PA, a staged adaptation of Chinary Ung’s Still Life After Death for the lotusflower new music project, Frida in Robert Xavier Rodriguez’s Concert Suite from Frida for Kazan Co-op Theatre, and Anna I in Kurt Weill’s Die Sieben Todsünden, for the lotusflower new music project. Current projects include The New Frontier and A Chaos Of Light and Motion by Jack Van Zandt with Grammy winning pianist Nadia Shpachenko, and a new opera by Pamela Madsen entitled Why Women Went West. Past standard operatic roles Despina in Mozart’s Cosi fan Tutte, Pamina in The Magic Flute for the San Diego Opera Ensemble, Erste Knaben in Mozart’s Die Zauberflöte, First Handmaiden in Puccini’s Turandot for the San Diego Opera, Miss Silverpeal in The Impresario for South Dakota Symphony and the role of the Opera Singer in Paris Commune for La Jolla Playhouse. During her tenure at San Diego Opera as an Ensemble member, she understudied the roles of Marzelline in Fidelio, Suzanne in Tobias Picker’s Thérèse Raquin and Léila in Bizet’s Les Pêcheurs des Perles. Oratorio highlights

ABOUT THE ARTISTS

include the soprano soloist in Handel’s Messiah with Vancouver Symphony, the soprano soloist in Bernstein’s Kaddish and Eva in Haydn’s Die Schöpfung with La Jolla Symphony, and soprano soloist in both Mendelssohn’s Lobgesange and the Stravinsky Mass with the San Bernardino Symphony.

Fraser is dedicated to the performance of vocal works by modern Asian-American composers and is a longtime collaborator of Japanese composer Koji Nakano, past grand prize winner of the S & R Foundation award. She has recorded Nakano’s Ancient Songs (2007) for solo voice as well as his chamber piece Time Song II, Howling through time for soprano, percussion, and flute (2006). She gave the world premiere of Nakano’s new work for soprano entitled “Arigatoo” from the opera Spiritual Forest (2011) at the Kennedy Center and the Asian premiere at the Taipei National Concert Hall in Taiwan. She has since performed the world premiere of Nakano’s Worldscape III for soprano, pipa, and electronics at the Pacific Asia Museum in Pasadena, California (2015) and his newest work Spiritual Forest for soprano, shinobue and chamber ensemble at California State University San Bernardino in 2019. Her articles on Nakano’s vocal music have been published by Cambridge Scholar Press (2009) and the College Music Symposium (2011).

As a stage director Fraser’s innovative, modern and zany adaptations of the standard and contemporary operatic repertoire include Bernstein’s Trouble in Tahiti, Humperdinck’s Hänsel und Gretel, Mozart’s Impresario, Offenbach’s RSVP: or a Musicale at Mr. Cauliflower’s and Mozart’s Cosi fan tutte. Recent productions include the first university production of Einstein on the Beach by Philip Glass and Robert Wilson (abridged), a film adaptation of Missy Mazzoli’s Song from the Uproar, three chamber operas by American composer Robert Xavier Rodriguez, Monkey See Monkey Do, Tango

and Concert Suite from Frida as well as her acclaimed Quentin Tarantino inspired production of Donizetti’s Don Pasquale for CSUSB. Additional credits include the Bizet/Brook La Tragédie de Carmen for Opera on Tap San Francisco, Bernstein’s Candide for Pasadena Opera, and Maria de Buenos Aires by Astor Piazzolla for Cal State San Bernardino. In 2012 she assisted Canadian director Kelly Robinson on Mozart’s Don Giovanni at the Banff Centre for the Arts. She has also collaborated on several productions with dancer/choreographer Faith Jensen-Ismay of the critically acclaimed San Diego Dance Company, Mojalet Dance Collective.

Fraser holds a Doctorate in Contemporary Music Performance from the University of California, San Diego, and Master of Music in Vocal Performance from the Manhattan School of Music and a Bachelor of Music in Vocal Performance from the University of Toronto. She is currently Professor of Music and Director of Opera Theatre at California State University, San Bernardino. Professional affiliations and memberships include AGMA, Canadian Actors Equity, NATS and the Recording Academy.

Brian Walsh, clarinet

Brian Walsh is a musician who is interested in sound and communication, regardless of the genre. He specializes in performance on the clarinet and bass clarinet, and is fluent in many styles of music. He is a graduate of the California Institute of the Arts (MFA, BFA), and the Los Angeles County High School for the Arts.

Walsh frequently performs with such diverse groups as Inauthentica, The New Century Players, The Industrial Jazz Group, PLOTZ!, The Doug McDonald Brass and Woodwind Coalition, and the Vinny Golia Large Ensemble.

Walsh also leads Walsh Set Trio, a jazz ensemble focusing on the performance of his own compositions. Performances have taken him to Japan, Canada, Italy,

ABOUT THE ARTISTS

England, the Netherlands, Iceland, and all over the United States. He has premiered pieces by Luigi Nono, Girard Grisey, James Newton, Rosalie Hirs and many others. Past collaborators have included Peter Maxwell Davies, Gavin Bryars, Bobby Bradford, Nels Cline, Money Mark, Bright Eyes, James Newton, Larry Koonse, Muhal Richard Abrams, the Henry Mancini Orchestra, and the Riverside Philharmonic.

Walsh is also an active private teacher and clinician. He is an instructor at Baxter-Northup Music, the Oakwood School, and the Academy of Creative Education.

Nick Terry, percussion

Nick Terry is a percussionist specializing in contemporary classical chamber music. In 2005, he cofounded Ensemble XII, an international percussion orchestra which Pierre Boulez endorsed as “… representing the next generation in the evolution of modern percussion.” In 2008, he founded the Los Angeles Percussion Quartet, who were nominated for Best Chamber Music Performance in the 55th Grammy Awards, featured artists at the 2013 Percussive Arts Society International Convention, included among iTunes 2014 Best of Classical Music, and hailed by The New York Times for their “mesmerizing, atmospheric, and supremely melodic music.” He is a founding member of L.A.’s ensemble PARTCH, whose 2014 release on Bridge Records (Plectra and Percussion Dances), won Best Classical Compendium at the 57th Grammy Awards. His latest local ensemble, Brightwork newmusic (a “Pierrot-plus” sextet), is currently at work commissioning new works and performing throughout the region. He is a five-year alumnus of the Lucerne Festival Academy, where he worked extensively alongside members of Ensemble Intercontemporain, Pierre Boulez, Peter Eötvös, and Fritz Hauser.

Terry is a graduate of the University of Southern California, California Institute of the Arts, and Eastern Illinois University,

and is currently an Associate Professor of Music at Chapman University’s Conservatory of Music.

Aron Kallay, piano

Aron Kallay is the artist director and founder of Brightwork newmusic, and a Core Artist on the acclaimed Piano Sphere series. Described as a “modern renaissance man,” (Over the Mountain Journal) Grammy® nominated pianist Aron Kallay‘s playing has been called “exquisite…every sound sounded considered, alive, worthy of our wonder” (LA Times). “Perhaps Los Angeles’ most versatile keyboardist,” (LaOpus) he has been praised as possessing “that special blend of intellect, emotion, and overt physicality that makes even the thorniest scores simply leap from the page into the listeners' laps.” (KPFK) Aron’s performances often integrate technology, video, and alternate tunings; Fanfare magazine described him as “a multiple threat: a great pianist, brainy tech wizard, and visionary promoter of a new musical practice.”

Kallay has performed throughout the United States and abroad and is a fixture on the Los Angeles new-music scene. He is the co-founder and board president of People Inside Electronics (PIE), a concert series dedicated to classical electroacoustic music, the managing director of MicroFest, Los Angeles’ annual festival of microtonal music, and the codirecter of the underground new-music concert series Tuesdays@MONK Space. He is also the co-director of MicroFest Records, whose first release, John Cage: The Ten Thousand Things, was nominated for a Grammy® award for Best Chamber Music Performance.

Kallay has recorded on MicroFest, Cold Blue, Delos, and Populist records. In addition to his solo work, he is currently a member of the Pierrot + percussion ensemble Brightwork newmusic, the Varied Trio, and the Ray-Kallay Duo. He is on the faculty of Pomona College and Claremont College.

$1,000,000 +

Terri & Bob Niccum

Stanley Mark Ryan

$100,000 - $999,000

Darryl Curran

Gregory & Shawna Ellis

David & Shirley Sepel

William Wagner

$25,000 - $99,999

Lee Begovich

Johnny Carson Foundation

Leo Freedman Foundation

Karyn L. Hayter

Robin & Steve Kalota

Sallie Mitchell Revocable Trust

Donna & Ernest Schroeder

Sue & Dr. Edward A. Sullivan

The Andy Warhol Foundation for the Visual Arts

$10,000-$24,999

Apple Inc.

Drs. Joseph and Voiza Arnold

Robin de la Llata Aimé & John B. Aimé

EMC Associates, Ltd

Ellen M. and William A. Groves

Kathleen A. Hein

J. P. Morgan Charitable Giving Fund

Marianne R. Kreter

Eleanore & James Monroe

Lucina L. Moses & John Brennan

Dana Praitis

Louise P. Shamblen

Dr. Kristin K. Stang & Dr.Gordon P. Capp

Jeffrey A. Stang & Lisa McDaniel Stang

$5,000-$9,999

Boeing North American Fitness Inc.

Steven Caulk

Continuing Life LLC

Morningside of Fullerton

Fidelity Charitable Gift Fund

Anonymous

Friends of Jazz, Inc

Leslie Garman

Dr. Margaret Faulwell Gordon

MaryLouise & Edward Hlavac

DONOR APPLAUSE

Jill Kurti Norman

Norma L. Morris

Bettina Murphy

Dwight Richard Odle Foundation

Orange County Community Foundation

Stephen Rochford, DMA

Schwab Charitable Fund

Barbara Thompson

$1,000-$4,999

John A. Alexander

Judy Atwell

Dorothy & Nick Batinich

Dr. & Mrs. Keith O. Boyum

Janet & Allan Bridgford

Broadway Arts Studio

Marion Brockett

California Community Foundation

Katherine Calkins

James Case

Charities Aid Foundation of America

CMC

Joann Driggers & Stephen Collier

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CSU Northridge Foundation

CSUF Auxiliary Services Corporation

Jeannie Denholm

Dr. Marc R. Dickey

Susan & Richard Dolnick

Charlie Duncheon

Anne Fingal

Fullerton Families & Friends Foundation

Jane Deming Fund

Marsha Gallavan

Annette & Dr. Leon Gilbert

Renee Gillespie

Dr. Mark J. Goodrich

Michael R. Haile

Susan Hallman

James L. Henriques

Frank A. Hinojoz

The Ibanez Family

Janet L. Smith Voice Studio

Sandra & Norman H. Johnson

Michelle Jordan

Gladys M. Kares

Ronald L. Katz Family Foundation

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Gayle A. Kenan

Ms. Junko Klaus

Dr. Irene L. Lange

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Marilyn M. Little

The Loftus Family Foundation

Jason Lomeda

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Melissa Madsen

Paul Coluzzi & John M. Martelli

Karen & William McClung

Thelma Mellott

Patti & Carl Miller

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David Navarro

Grace & Ujinobu Niwa

Debra L. Noble

Tyler Stallings & Naida Osline

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Aleks Lyons & Geoffrey Payne

Peace Mountain Theatre Company Inc

Anonymous

Jim Plamondon

Linda L. & E. B. Powell

The Presser Foundation

Sharon & Dr. Anil K. Puri

R23 International Inc.

Brian Rennie & Lori Rennie

Nancy & Robert Rennie

David Rhone

Liz Riede

Thomas C. Robinson

Mary L. Rupp

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D Barry Schmitt R. Trust

Martha Shaver

Ingrid R. Shutkin

Barbara Kerth & Ms. Lorena Sikorski

Janet L. Smith

Roberta & Robert Sperry

Thomas Statler

Douglas G. Stewart

Ernie Sweet

Carolyn & Tom Toby

Fram & Julie Virjee

Verne D. Wagner

Tina L. Walker

Patrick Young

Ruth & Wayne P. Zemke

Very special care has been given to the preparation of this donor listing. Please contact Ann Steichen at (657) 278-7124 with questions or concerns.

ONTIVEROS SOCIETY

The Ontiveros Society includes individuals who have provided a gift for Cal State Fullerton through their estate plan. We extend our deep appreciation to the following Ontiveros Society members, whose gifts will benefit the students and mission of the College of the Arts:

ANONYMOUS

JOHN ALEXANDER

LEE & DR. NICHOLAS A.* BEGOVICH

GAIL & MICHAEL COCHRAN

MARC R. DICKEY

JOANN DRIGGERS

BETTY EVERETT

CAROL J. GEISBAUER & JOHN* GEISBAUER

SOPHIA & CHARLES GRAY

MARYLOUISE & ED HLAVAC

GRETCHEN KANNE

DR. BURTON L. KARSON

ANNE L. KRUZIC*

LOREEN & JOHN LOFTUS

ALAN A. MANNASON*

WILLIAM J. MCGARVEY*

DR. SALLIE MITCHELL*

ELEANORE P. & JAMES L. MONROE

LYNN & ROBERT MYERS

DWIGHT RICHARD ODLE*

SHERRY & DR. GORDON PAINE

DR. JUNE POLLAK & MR. GEORGE POLLAK*

DR. STEPHEN M. ROCHFORD

MARY K. & WILLIAM SAMPSON

LORENA SIKORSKI

DOUGLAS G. STEWART

ANDREA J. & JEFFREY E. SWARD

RICHARD J. TAYLOR

VERNE WAGNER

RICHARD WULFF

DR. JAMES D. & DOTTIE YOUNG*

*deceased

The College of the Arts Proudly Recognizes the 300+ Members of Our VOLUNTEER SUPPORT GROUPS

ART ALLIANCE: Art Alliance promotes excellence and enjoyment in the visual arts, and their fundraising efforts contribute to student scholarship, gallery exhibitions, opening receptions and sculpture acquisition on campus.

SPECIAL SUPPORT AND EVENT UNDERWRITING

Fay Colmar

John DeLoof

Joann Driggers & Steve Collier

Loraine Walkington

ALLIANCE FOR THE PERFORMING ARTS: The Alliance for the Performing Arts (formerly MAMM) benefits performing arts students through underwriting visiting artists; special theatre, dance, and music performances; and other unique experiences for members.

SPECIAL SUPPORT AND EVENT UNDERWRITING

Judy Atwell

Drs. Voiza & Joe Arnold

Dr. Margaret Faulwell Gordon

Susan Hallman

Norma Morris

Richard Odle Estate

Kerry & John Phelps

Jeanie Stockwell

Verne Wagner

MUSIC ASSOCIATES: Music Associates maintains a tradition of active involvement and community support, and raises scholarship funds for School of Music students through annual fundraising events and membership dues.

SPECIAL SUPPORT AND EVENT UNDERWRITING

Marilyn Carlson

Evelyn K. Francuz

Sandy & Norm Johnson

Marti & Bill Kurschat

Karen & George Mast

Thelma & Earl Mellott

Bettina Murphy

Grace & Ujinobu Niwa

Kerry & John Phelps

Mary & Jerry Reinhart

Ann & Thad Sandford

Dodo V. Standring

Carolyn & Tom Toby

John Van Wey

Talich Quartet

February 16 • Meng Concert Hall

Quarteto Nuevo

February 17 • Meng Concert Hall

University Symphony Orchestra with Talich Quartet

February 18 • Meng Concert Hall

Brightwork Newmusic

February 22 • Meng Concert Hall

University Symphony Orchestra feat. Joseph Loi, flute

February 25 • Meng Concert Hall

loadbang*

February 27 • Meng Concert Hall

Advanced Vocal Workshop feat. Michael Schütze, piano

February 29 • Recital Hall

Fabian Ziegler, percussion

March 6 • Meng Concert Hall

Enrico Elisi, piano

March 7 • Meng Concert Hall

Marisol

March 8– 23 • Little Theatre

Fullerton Jazz Orchestra & Fullerton Jazz Chamber Ensemble

March 8 • Meng Concert Hall

Enrico Elisi & Mengyang Pan, duo piano

March 10 • Meng Concert Hall

Alumni Piano Recital

March 14 • Meng Concert Hall

17th Annual Collage Concert

March 16 • Meng Concert Hall

Accidentally on Purpose

March 22– 30 • Hallberg Theatre

University Singers & Concert Choir

March 24 • Meng Concert Hall

Brightwork newmusic*

March 26 • Meng Concert Hall

Minsoo Sohn, piano

March 27 • Meng Concert Hall

Ernest Salem & Hasse Borup, violins March 28 • Meng Concert Hall

Nicholas Isherwood, bass/baritone*

April 9 • Meng Concert Hall

Gabriel Bianco, guitar

April 10 • Meng Concert Hall

Urinetown the Musical

April 12– 27 • Young Theatre

High School Honor Band & CSUF Wind Chamber Ensembles

April 13 • Meng Concert Hall

CSUF New Music Ensemble & Contemporary Chamber Ensemble

April 17 • Meng Concert Hall

Monteverdi’s The Coronation of Poppea

April 18–21 • Recital Hall

CSUF Symphonic Winds

April 21 • Meng Concert Hall

Fullerton Jazz Chamber Ensemble & Fullerton Latin Ensemble

April 23 • Meng Concert Hall

University Band

May 1 • Meng Concert Hall

Spring Dance Theatre

May 2–11 • Little Theatre

Fullerton Jazz Orchestra

May 3 • Meng Concert Hall

University Wind Symphony

May 4 • Meng Concert Hall

Jazz Singers

May 6 • Meng Concert Hall

Titan Voices & Singing Titans

May 8 • Meng Concert Hall

Symphony Orchestra & Symphonic Chorus Mozart’s “Requiem”

May 11 • Meng Concert Hall